Atonal Installation is the show that marks the group's premiere in its definitive format, taking to the last consequences the purpose of mixing music and performance, exploring the extremes of these two means of expression over a scenic conception that manifests itself inside the very musical action, in a language that evokes a succession of concrete and abstract images torn apart from the whole.
The scenic space intervention. It is in this moment that the show's concept of installation shows itself in the plenitude of its plastic aspect. At first there's a wide (and varied) range of scrap objects all over the room like "artwork", that soon serve as raw material for the musical construction of the show, in a process of sound dissection, where the Atonal principle of musical structuring shows itself in decisive manner, completing thus the Atonal Installation concept. Still as an element of scenic intervention there's the moving scenery, that interact in itinerant way, made of basic elements like water, earth, fire and a video installation, elements that speak for themselves and serve as theme for the many movements of this poliphonic Babel.
The idea is not to tell a story, but to conduct an aesthetics through a series of dramatic and musical actions, that connected by a context relate between each other in a subjective way, where each piece shows its own theme through rituals that create and recreate distinct ambiences, that excite the audience's perception from different forms of visual and auditive communication. Tension and strangeness are constant elements that manifest itself in static postures, video monitors, dance, dramatized texts, instigating musical textures and an interaction that rushes threateningly over the audience, making it, by the end of the show, perceive through a bunch of different sensations the opus as a whole.
Spanning around 60 minutes, Atonal Installation is composed of ten pieces:
Oscillações (um Ritual para o Fogo) opens the show, having fire as the percussionists' action's target and as dramatic stimulus, revealing an erotic relation between the visual and audio elements over the stage. To see the speeches of Oscilações, click here.
Dançando Sobre os Destroços . With a broken, aggressive and strongly marked rhythm, this piece shows all the energy used by the group to go beyond simple musical execution.
Hypnotique has a structure that grows through increasing density, creating an envolving climate with rhythms that alternate and overlap in continuous evolution, until the moment of the absolute encounter of all the rhythmic lines, in an explosion of energy and ecstasy, that serves as theme for a choreography that mixes dance movements with theatrical gestures in strong body expression.
Abwärts is a free adaptation of the german composer Karlheinz Stockhausen's piece, where the text in german is put in a lullaby rhythm in front of TV's that show in an asymmetrical way the text's translation, in a word game, all of this being over a tense and structuralistic rhythmic base. To see the speeches of Abwärts, click here.
Colapso. TV's with static over chaotic illumination depict the climate to which the piece's title refers, poliphonically showing a rigorously regular rhythmical cadence, opposing thus two distinct aesthetics in a common context.
2 Cantos. Piece of two movements where the group dramatizes texts of the surrealist poet George Kulka. To see the speeches of 2Cantos, click here.
Rhythmus is the moment that depicts fully the interaction between the visual and audio elements that form the show, where the percussionists explore the maximum limits of the scenic space to execute a piece that uses unpredictability as the common element between the musical and dramatic action.
Do Brilho Descontínuo sets a more intimist ambience, through a minimalist musical structure and a text that documents the rise and fall of a star, represented musically through the white noise. To see the speeches of Do Brilho Descontínuo, click here.
Ritual has the power of an intense primitive rhythm alternated with mantras recited by Tibetan children and different noises, the overlapping of these elements imposing a ritualistic character to this piece.
Desconstrução ends the show taking the audience inside the action, where the musicians become a link, taking their junk to the audience so that it may (de)construct its own music.